hello, hope the week be treating you well 

no preamble today, and lots of A+ new gear in (including the new Cucina Povera, intense exposure to which has sent us a bit loopy, will have to wait til the next mailout) let's just gerron with it...



Reclusive, catatonic swamp-pop from the dreaming, dozing shores of Forlag For Fri Musik (again!?) and the somehow infinitely fertile Gothenburg sump. Amateur Hour, a three piece consisting of members of Neutral and Enhet For Fri Musik, play with their hearts slightly further down their sleeves than the aforementioned endeavours - garage band laments are burnt to a crisp here, barely recognisable amidst Dan Johanssons’ swells of noise - yet, somewhere in the charcoaled remains of this guitar band lie some eternal songs. Previously released as a lathe cut - “Jenny’s Place” comes wading in two songs deep - a heavy hearted, haunting and bordering-Lynchian cinematic ballad - one that feels every bit as inflammatory as Blod’s opener on Knutna Navar - melancholic, disintegrated pop prowess, like a codeine-ballroom version of This Mortal Coil (Meg reckons a touch of Chrissy Hynde too!).

 This, swiftly followed by a peaking, reverberant, Swedish sports-bar karaoke cover of the rhapsodic Television Personalities’ treasure “The Girl Who Had Everything” - Julia Bjernelind blowing the roof off this imaginary, low-lit boozer we are now in - her and this humble mob giving it a bash as if no-one is listening - striking an immediate, intimate impact that totally gives Indexs’ IMMORTAL cover of “Keep Me Hangin’ On” a run for it’s money. Ugh.

In between the heart-strings, Amateur Hour show off their fast metabolism and ability to dart from style to style with killer-instinct, whilst maintaining an innocence that makes you feel like you are egg’ing on your mates band - any duff notes (there are a few!) serving only to highlight the moments where it all comes together, these moments often MELTING back in to scorched keys and searing noise passages that we cannot get enough of. While it’s a bit annoying to compare folk to their contemporaries, this music is very much tied to a time and place and “Framtiden Tiller..” undoubtedly gives off the same, drowning, D.I.Y. sensibility as that last Neutral record (which still gets rinsed heavily round these parts) but brings something new to the fore - expelling any scepticism and justifying our excitement and intrigue for whatever this mob have to offer.

While there are undeniably times where the theory/rhetoric around the Colundi sequence sounds like a discarded storyline from The Mighty Boosh, we count ourselves among the believers… albeit probably more fairweather CofE than full Opus Dei. Sunshine 3 is an amazing expo not only of the dead-eye-opening psychedelic possibilities of dem mystical glistening tones, but of Perala’s phenomenally assured production - inna purist, stripped-back, post-AFX braindance/electro mode that no one, really NO ONE, can argue with. At its best this punchy, pacey set finds a sweet spot between microdosing tekno-trance and a fresh take on driving Drexciyan aqua-funk, with the overriding mood one of free party / utopian o-blisseration - as opposed to dystopian blah - and all the more fucked-up for it. Outstanding!





Those of you well acquainted with the FRINGES (sorry) of the original UK industrial culture and/or readers of David Keenan’s England’s Hidden Reverse will know the name Produktion. This likely trio - Australians Christine Glover and Paul Hurst and Tasmanian Ross Cannon - moved to London from Sydney in 1978, setting up Produktion Hair salon in Kensington Market, administering industrial dos for industrial people (they called them “supercuts”).

“Produktion was a hub of energy,” Glover would later tell Keenan. “The decor was industrial, the front door was covered in sheet metal studded with four inch nail spikes, a tractor tyre tread as flooring in the back room. Old barber’s chairs and the discarded fittings from a 50s Knightsbridge salon. We sold tapes such as the EQUiNoX evENT, United Dairies, Whitehouse and Club Moral music, magazines and fanzines. We created a round metal film box set with Whitehouse recordings, film, photos and collage art works. True, we played industrial music all day at Produktion. Favourite was the 24 hour Throbbing Gristle box set and Sylvie and Babs Hi-Fi Companion....”

As well as disseminating extreme music and print from their friends, Produktion made their own super 8 films, animations, zines and tapes, collaborating with the likes of John Duncan, Merzbow, Toshiji Mikawa (Incapacitants) and Nurse With Wound. Their self-released tapes from the era are all highly sought after today; two of the best have now been reissued officially for the first time, courtesy of Menstrual Recordings: Produktion Film Soundtracks and, credited to Societe Anonomie, a recording of a live performance at Newcastle University on 26.3.83. Raw, wretched, Ultrasadist machine music, CD editions of just 200 and 100 respectively>>>>


JAH FINGERS | 12" | £12.99

Check “Dub Mix II” for a pacey, percussive / sub-rumbling MOVER in finest Earthquake / TNT Roots style. If you have been into more recent John T. Gast endeavours, this one's a no brainer>>>>





BUNKER | 12" | £11.99

DING-DING! Debut Ectomorph release from ‘95, now reissued on their own label and imported to bring you some unbeatable ‘club tackle - both “Subsonic Vibrations” and “Parallax View” offering classic pressure-cooked beat-downs, on the flip, amidst some disorientating locked grooves lies “Skin” - a hallucinatory synth meteor shower that precedes our pick of the bunch - “The Last Days Of Skylab” - which sounds like Stingray is flying the last space shuttle outta some frantic planet evacuation - dance u mutha!! AAAND in the brown corner we have the Dutch acid techno militia, beyond hitting their stride on 007 with their inimitable machine-seizure / Bunker snarl. Ye, it’s hard to move for all the reissues these days and we’re all dead annoyed, but it is a JOY to see another release in this series of anti-classics come back into circulation - Unit Moebius somehow always managing to carry as much frustration and urgency in their music as they do FUN. Kwality gear. 


LAURA LIES IN | 12" | £8.99

Further joyous bewilderment from LLI and ST/NE in the form of cunning computer rhythms, transcendent R&B delirium and - if any of these tracks were gonna get this lazy Laura character out her scratcher - it's the ferocious, grime-leaning beat-blizzard and rowdy, vocal incantations of “We/Me”. Wild, wild, wild EP of new mutant sound design and futuristic war-dances, highly recommended.

Warehouse find of a tragically overlooked, turn-the-heater-on UK art-pop gem from 2004 - an all-time personal favourite. Avrocar, the duo of Perry McDonagh and Antony Harding, formed in the Midlands in the late 90s, coming out of that same inward-looking British post-shoegaze  / space-age-bedsit-music milieu that also numbered people like Hood, Apples In Stereo, Magnetophone and Ma Cherie For Painting (they released their debut LP on Earworm, at the time a major hub for all this stuff), but their best stuff has a sparseness, and depressive intensity, that sets it apart. Everything they released is pretty interesting, and pretty varied, but they really struck gold with Guidance, a 12" EP for their own (?) short-lived label. There are some echoes of Disco Inferno and Bark Psychosis in the marriage of mumbled confessional and intrepid, painterly sonics, but Avrocar also bring a colder, machinic, almost Kraftwerkian feel to their vocals and productions - a kind of retro that was, in a sense, about 10 years ahead of its time. Unrelentingly bleak, but in a dialled-down, drug-numbed way, it's unsurprising that Guidance counts Tropic of Cancer among its admirers. Such an amazing record, if you missed out on this or weren't around first time, can't recommend it highly enough. 

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